By Esther Selsdon, Jeanette Zwingerberger
The Best of sequence provides, because the identify indicates, highlights from the paintings of well known artists followed via biographical text
Egon Schiele (1890-1918) is likely one of the nice Expressionist painters. He was once taught via Gustav Klimt, and at a really early age, like his Viennese Secession predecessors, broke with the traditions of professional Austrian artwork. His a variety of self-portraits and nude types remained constant all through his profession in response to his erotic, sensual and tormented visions of paintings. The work and textual content incorporated during this booklet demonstrate the intense expertise of this artist who, unfortunately, died of Spanish influenza on the age of twenty-eight in Vienna.
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Extra info for Best of: Egon Schiele
P. 64) Portrait of the Artist’s Wife, Standing (Edith Schiele in Striped Dress), 1915. Oil on canvas, 180 x 110 cm. Gemeentemuseum voor Moderne Kunst, The Hague. (p. 65) 62 In Munich, the art dealer Golz exhibited Schiele’s works. A critical year, in 1912 the “New Art Group”, together with the artists union, displayed Der Blaue Reiter (The Blue Rider) in Budapest, Munich and Essen. In November 1912, Schiele returned to Vienna and moved into an atelier in the Hiertzinger Hauptstrasse. Klimt introduced him to the collector August Lederer, whose son Erich became his pupil.
Schiele’s retreat from the subjective experience of the individual was a counter-reaction to Viennese historicism and its prince of painters, Hans Makart, who was celebrated by the government. Schiele distanced himself from their allegoric compositions. He turned Catholicism’s conventional values upside down and placed them in the service of sexuality. His strategy: he wanted to shock. In the painting provocatively titled The Red Host, Schiele reclines on his back in an orange shirt with his abdomen bared, his spread legs suggesting the feminine gesture of submission, while before him, gazing at the viewer, a nude strawberry-blonde holds his enormous phallus.
It is called murder of life coming into being”. The prison stay validated him, the artist, in his role as an outsider. Several self-portraits of Schiele as a prisoner testify to this time. Solemnly the judge burnt one of the indecent drawings in the courtroom. ” International Artist Portrait of the Artist’s Wife, with Hands on Hips, 1915. 5 cm. Private collection. The Artist’s Sister-in-Law in Striped Dress, Seated, 1917. 5 cm. Graphische Sammlung Albertina, Vienna. (p. 64) Portrait of the Artist’s Wife, Standing (Edith Schiele in Striped Dress), 1915.